<i>Children’s Literature and the Avant-Garde</i> is the first study that investigates the intricate influence of the avant-garde movements on children’s literature in different countries from the beginning of the 20th century until the present. Examining a wide range of children’s books from Denmark, France, Germany, Hungary, the Netherlands, Russia, Sweden, the United Kingdom, and the USA, the individual chapters explore the historical as well as the cultural and political aspects that determine the exceptional character of avant-garde children’s books. Drawing on studies in children’s literature research, art history, and cultural studies, this volume provides comprehensive insights into the close relationships between avant-garde children’s literature, images of childhood, and contemporary ideas of education. Addressing topics such as the impact of exhibitions, the significance of the Bauhaus, and the influence of poster art and graphic design, the book illustrates the broad range of issues associated with avant-garde children’s books. More than 60 full-color illustrations demonstrate the impressive variety of design in avant-garde picturebooks and children’s books.

A lively series of spatial turns in literary studies since the 1990s give rise to this engaged and practical book, devoted to the question of how to teach and study the relationship between all sorts of literature and all sorts of location. Among the many concrete examples explored are texts created between the early seventeenth and the early twenty-first centuries, in genres ranging from stage drama and lyric poetry to television, by way of several studies of fiction definable in a broad way as realist. Writers and thinkers discussed include Michel de Certeau, Edward Casey, Gwendolyn Brooks, Christina Rossetti, Dickens, J. Hillis Miller, Lynne Reid Banks, Heidegger, Shakespeare, Thomas Middleton, Thomas Dekker, Stephen C. Levinson, Bernard Malamud, E.M. Forster, Thomas Burke and Samuel Beckett. The book is underpinned by the philosophical topology of Jeff Malpas, who insists that human life is necessarily and primarily located. It is aimed at students and teachers of literary place at all university levels.

Spoken language is characterized by the occurrence of linguistic devices such as discourse markers (e.g. so, well, you know, I mean) and other so-called “disfluent” phenomena, which reflect the temporal nature of the cognitive mechanisms underlying speech production and comprehension. The purpose of this book is to distinguish between strategic vs. symptomatic uses of these markers on the basis of their combination, function and distribution across several registers in English and French. Through deep quantitative and qualitative analyses of manually annotated features in the new DisFrEn corpus, this usage-based study provides (i) an exhaustive portrait of discourse markers in English and French and (ii) a scale of (dis)fluency against which different configurations of discourse markers can be diagnosed as rather fluent or disfluent. By bringing together discourse markers and (dis)fluency under one coherent framework, this book is a unique contribution to corpus-based pragmatics, discourse analysis and crosslinguistic fluency research.

Dutch literature of the 17th century, while not as famous as other elements of the culture of the Dutch Golden Age, deserves independent focus, not only because of its own intrinsic worth, but also because of the evidence of strong social concern that it presents and the light it sheds on other aspects of the Golden Age. Despite this, outside the Netherlands the literature has not been examined closely, undoubtedly because of the language barrier, but also because there is no reasonable introduction to the material in English. This book fills that lacuna. Richly illustrated, it groups its subjects thematically: politics, religion, nature, daily life. Because Golden Age painting, in particular, is so famous, the book devotes a special chapter to the connection between poetry and painting. A concluding chapter shows the republic's function as a European literary trading center with brisk import and export. Included also are texts and translations of poems and extensive bibliographies for further study.<br />

An Ecology of the Russian Avant-Garde Picturebook takes a new approach to interpreting 1920s and 1930s picturebooks by prominent Russian writers, artists, and intellectuals by examining them within the ecological environment that, first, made them possible and, then, led to their demise. It argues that naturalistic models of the complex interactions of dynamic systems offer effective tools for understanding the fraught interrelations of art and censorship in the early Soviet period. Through illustrative case studies, it mounts a close analysis of word and image and their synergistic interplay in avant-garde picturebooks, while also recontextualizing them within the ecology of their original environment where extraordinary countervailing forces played out a drama of which these books survive as telling artifacts. Ultimately, it argues that the Russian avant-garde picturebook offers a uniquely illustrative example of literary ecology that sheds light on issues of creativity and censorship, politics and art, more broadly as well.

Containing more than fifty essays by major literary scholars, <i>International Postmodernism</i> divides into four main sections. The volume starts off with a section of eight introductory studies dealing with the subject from different points of view followed by a section that deals with postmodernism in other arts than literature, while a third section discusses renovations of narrative genres and other strategies and devices in postmodernist writing. The final and fourth section deals with the reception and processing of postmodernism in different parts of the world.<br />Three important aspects add to the special character of <i>International Postmodernism</i>: The consistent distinction between postmodernity and postmodernism; equal attention to the making and diffusion of postmodernism and the workings of literature in general; and the focus on the text and the reader (i.e., the reader's knowledge, experience, interests, and competence) as crucial factors in text interpretation.<br />This comprehensive study does not expressly focus on American postmodernism, although American interpretations of postmodernism are a major point of reference. The recognition that varying literary and cultural conditions in this world are bound to produce endless varieties of postmodernism made the editors, Hans Bertens and Douwe Fokkema, opt for the title <i>International Postmodernism</i>.<br />

<i>Metaphor in Specialist Discourse</i> presents multiple perspectives on metaphor use in specialist and popularized discourse contexts. Using genre and register as starting parameters for deeper exploration, and pushing the boundaries further to open up new areas and possibilities, ten independent articles investigate metaphor use across a range of specialist domains of discourse, such as biology research articles, psychological counseling, soccer commentaries, workfloor communication, and penal policy documents. Framed by two theoretical chapters, the book is a contribution to the study of metaphor use in distinct discourse settings that will be of value to linguists and metaphor scholars of different persuasions, graduate students of linguistics and related disciplines, and practitioners of specialized areas with an interest in (verbal or gestural) language use in their areas of expertise. It shows that aspects of discourse variation are the beginning of, not an afterthought to, accurate empirical metaphor studies.

This volume brings together contributions by philosophers, art historians and artists who discuss, interpret and analyse the moving and gesturing body in the arts. Broadly inspired by phenomenology, and taking into account insights from cognitive science, the contribution of the motor body in watching a film, attending a dance or theatre performance, looking at paintings or drawings, and listening to music is explored from a diversity of perspectives. This volume is intended for both the specialist and non-specialist in the fields of art, philosophy and cognitive science, and testifies to the burgeoning interest for the moving and gesturing body, not only in the creation but also in the perception of works of art. Imagination is tied to our capacity to silently resonate with the way a work of art has been or is created.

This series provides a forum for historical research in the arts of the Low Countries. While the series focuses on the art of this particular region, corresponding to what are now the Netherlands and Belgium, it is not limited to a specific period. This series includes monographs as well as catalogues and critical studies on all aspects of the arts in the Low Countries.

The Jesuit educational system, with its successful applications in all parts of the world for several centuries, is one of the most durable, influential, and far-reaching experiments in the history of education. In this monograph Aldo Scaglione explores the complex genesis of the system, which it regards essentially as a heritage of Renaissance Humanism; the impact of both Reformation and Catholic Counter-reformation on it; and its conflicts with the secular traditions and systems with which it competed through the centuries.

In 1978, Nelson Goodman explored the relation of “worlds” to language and literature, formulating the term, “worldmaking” to suggest that many other worlds can as plausibly exist as the “world” we know right now. We cannot catch or know “the world” as such: all we can catch are the world versions - descriptions, views or workings of the world – that are expressed in symbolic systems (words, music, dancing, visual representations). Over the twenty-five years since then, creative works have played a crucial role in realigning, reshaping and renegotiating our understandings of how worlds can be made and preserved in the face of globalizing trends.The volume is divided into three sections, each engaging with worlds as malleable constructs. Central to all of the contributions is the question: how can we understand the relationships between natural, political, cultural, fictional, literary, linguistic and virtual worlds, and why does this matter?